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Post by mhynson27 on Jul 29, 2021 3:09:31 GMT
I don't think they are dumping it. Netflix's award season slate is already incredibly packed this year. They just want to make De Armas and this movie shine in a less crowded year. What makes you think next year will be any less crowded?? Honestly, it will probably be even more crowded.
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Post by quetee on Jul 29, 2021 3:47:42 GMT
I don't think they are dumping it. Netflix's award season slate is already incredibly packed this year. They just want to make De Armas and this movie shine in a less crowded year. Not buying that. Netflix wants to occupy as many slots as possible.
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Post by mikediastavrone96 on Jul 29, 2021 4:38:07 GMT
Think Netflix made a tactical error not premiering this out of competition at Cannes as Frémaux offered. French critics like Dominik a good bit and that crowd would I imagine have been the most receptive to whatever odd take he almost certainly put on this. Feels like they put all their eggs on Venice and are now trying to recover from that whiff.
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Post by mhynson27 on Jul 29, 2021 4:45:38 GMT
There's also a chance that Dominik and Netflix are clashing HARD in regards to the final edit.
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Post by pacinoyes on Jul 29, 2021 8:38:59 GMT
Lots of mumbo jumbo in this thread - it maybe even wasn't rejected by Venice on its merits - like Coen was (allegedly) - but rather on which cut was being submitted - I covered this in the Venice thread........it was accepted and then pulled (allegedly ) ....... www.worldofreel.com/blog/2021/7/aqk3sp3cyzf6efgkjjgsw66liz36do Andrew Dominik hasn’t released a movie since 2012’s scathing indictment of America, “Killing Them Softly.” That movie has only aged better over time and whet our appetite for “Blonde,” Dominik’s first film in over 8 years and a fictionalized chronicle of the inner life of Marilyn Monroe.
Alas, “Blonde” has now been moved by Netflix into a 2022 release date. The film was supposed to have its world premiere at the upcoming Venice Film Festival, only to then be pulled out of the Venezia lineup by Netflix. Recent rumours have pointed towards Dominik and the streaming giant fighting over final cut.
The film had received major boosts in the wake of its main actress, Ana De Armas’, meteoric rise in popularity since the release of her star-making performance in “Knives Out”. She was no doubt primed to deliver another killer role in Dominik’s re-imagining of one of Hollywood’s first megastars.
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Post by mikediastavrone96 on Jul 29, 2021 13:55:54 GMT
There's also a chance that Dominik and Netflix are clashing HARD in regards to the final edit. Not saying this could not be the case, but why would Netflix want to fight over final cut? It's not like they have to worry much about the commercial prospects of the film given their business model - nobody's gonna cancel Netflix because they didn't like Blonde. And if Netflix is trying to do everything they can to secure top filmmakers, it isn't good optics to be butting in for a known arthouse filmmaker's work. Lots of mumbo jumbo in this thread - it maybe even wasn't rejected by Venice on its merits - like Coen was (allegedly) - but rather on which cut was being submitted - I covered this in the Venice thread........it was accepted and then pulled (allegedly ) ....... www.worldofreel.com/blog/2021/7/aqk3sp3cyzf6efgkjjgsw66liz36doIs there another writer claiming the same thing? World of Reel hasn't provided a citation for the claim that it was accepted and then pulled from Venice, nor has any other reporter provided the same info. Even the Jeffrey Wells citation they do provide for the final cut rumors insinuates it was just flat-out rejected by Venice.
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Post by stephen on Jul 29, 2021 14:02:17 GMT
Yeah, Netflix doesn't seem to give two shits about what the final edit of a movie is. They care about actually having content to blast into our eyeballs. It's quantity as opposed to quality with them, even if they are taking pains to ensure they have working relationships with auteurs to bolster their rep as a studio.
What this probably comes down to is that Blonde just wasn't Venice's cup of tea. Maybe Dominik, who had premiered his last two films in competition at the Lido and Cannes respectively, felt that maybe the cut he had wasn't right (remember, the cut of The Assassination of Jesse James at Venice wasn't the same one we've all seen) and is taking time to refine it. Maybe it is an immensely flawed movie and Netflix doesn't think they can mount a proper campaign for it and is deigning to dump it in a fallow period of 2022. Could be a mixture of all things. But until we actually see the film, we only have hearsay to go on, and if Barbera himself didn't like it, that doesn't mean it's a bad film or that it can't be an awards player. Maybe Netflix is fine giving Dominik time to tweak the film for a proper campaign next year. That would actually be a notch in their belt that they're willing to allow an auteur time to tinker with their movies; if other directors hear that, they may see fit to partner up with Netflix in the future.
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Post by pacinoyes on Jul 29, 2021 14:12:08 GMT
Lots of mumbo jumbo in this thread - it maybe even wasn't rejected by Venice on its merits - like Coen was (allegedly) - but rather on which cut was being submitted - I covered this in the Venice thread........it was accepted and then pulled (allegedly ) ....... www.worldofreel.com/blog/2021/7/aqk3sp3cyzf6efgkjjgsw66liz36doIs there another writer claiming the same thing? World of Reel hasn't provided a citation for the claim that it was accepted and then pulled from Venice, nor has any other reporter provided the same info. Even the Jeffrey Wells citation they do provide for the final cut rumors insinuates it was just flat-out rejected by Venice.Well WoR IS the sole source - he's said on his site that he was told it was 100% in the festival - then there was an incident between someone and Netflix and it was pulled or rejected - although it's unclear whether it was Venice saying "f-you you're out we're tired of going back and forth" or Netflix saying to their director "f-you you're not pushing us around, you're out". He's said both on the site ..........in different ways.......... When World of Reel links to Jeff Wells it's to do him a favor and increase traffic to his site - not to confirm something WoR was told - I mean Wells never breaks stuff like that and WoR breaks stuff a lot...........I'm thinking we won't know what happened until Andrew Dominik gives an interview - I mean I have no doubt that he's a difficult guy to work with and Netflix may have balked at something stupid he wanted - a title card or something minor perhaps - Netflix doesn't give in on EVERYTHING even for guys way bigger than Andrew Dominik - if they did The Irishman would be I Heard You Paint Houses........
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Post by quetee on Jul 30, 2021 6:00:55 GMT
If the issue really is over the final cut then Netflix needs to regroup. It makes no sense.
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Post by mhynson27 on Aug 1, 2021 23:15:41 GMT
There's also a chance that Dominik and Netflix are clashing HARD in regards to the final edit. Well would you look at that.
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Post by Billy_Costigan on Aug 3, 2021 21:50:53 GMT
This would explain a lot.
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Post by mhynson27 on Aug 4, 2021 0:09:16 GMT
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Post by cheesecake on Aug 4, 2021 3:20:35 GMT
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Post by mhynson27 on Aug 4, 2021 3:40:54 GMT
Me and pacinoyes feeling ever so slightly vindicated right now
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Post by Joaquim on Aug 4, 2021 3:49:35 GMT
#ReleaseTheDominikCut
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Post by TheAlwaysClassy on Aug 4, 2021 3:50:47 GMT
I don't understand how you spend millions on a movie and you don't know what the movie is until after the fact
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cranly
Junior Member
Posts: 372
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Post by cranly on Aug 5, 2021 21:14:40 GMT
This is the same crap he went through with Warner Bros. on Jesse James, which was originally set for release in 2006, and had its date pushed back a year by an interminable battle over the edit. Dominik has referred to it as a period of prolonged "warfare" with the studio. He's also said there are 2 other cuts of the film which he considers better than the one that was ultimately released, and that his preferred cut is only longer by 5 minutes. Hopefully the struggle at least yields as (artistically) satisfying a compromise in this case as it did with Jesse James in the end...
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Post by stephen on Aug 5, 2021 21:17:32 GMT
This is the same crap he went through with Warner Bros. on Jesse James, which was originally set for release in 2006, and had its date pushed back by a year by an interminable battle over the edit. Dominik has referred to it as a period of prolonged "warfare" with the studio. He's also said there are 2 other cuts of the film which he considers better than the one that was ultimately released, and that his preferred cut is only longer by 5 minutes. Hopefully the struggle at least yields as (artistically) satisfying a compromise in this case as it did with Jesse James in the end... Jesse James also notoriously had a menstrual cunnilingus scene as well.
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Post by quetee on Aug 5, 2021 21:37:39 GMT
I don't understand how you spend millions on a movie and you don't know what the movie is until after the fact Netflix just saw Plan B, Brad Pitt's production company and thought Oscars.
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cranly
Junior Member
Posts: 372
Likes: 173
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Post by cranly on Aug 5, 2021 21:48:47 GMT
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Post by akittystang on Aug 14, 2021 1:39:11 GMT
I read some of a screenplay that's been passed around from 2016...I'm not sure how close to the shooting script this is but lmao! I doubt anyone is winning an Oscar for this or even nominated. Oh my god! If anyone is interested PM me
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Post by quetee on Aug 14, 2021 2:26:55 GMT
I read some of a screenplay that's been passed around from 2016...I'm not sure how close to the shooting script thia is but lmao! I doubt anyone is winning an Oscar for this or even nominated. Oh my god!
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Post by countjohn on Aug 14, 2021 5:22:20 GMT
Sounds like this guy has a fetish.
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Post by Pittsnogle_Goggins on Oct 11, 2021 15:26:07 GMT
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Post by stephen on Oct 11, 2021 20:35:39 GMT
Venice's loss is Berlin's gain, and I did say that Dominik should bow the film there. Glad to see that panning out.
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